Luxury Items was a super splendorific success. Besides being a fabulous production, this was also our longest running show to date, and garnered a ton of fantastic press! Go CounterPULSE, and hats off to Monique Jenkinson and everyone involved! Much love to all who came and hope you loved it as much as all of us on staff did! A few words from our awesome audiences: "Amazing. Fauxnique is awesome and the show "showed" her brilliantly. Great production. Every moment.
I am humbly accepting of the opportunity to participate in the 2010 CounterPULSE AIR program! I titled my first posting Begin Again because I am thrilled to have just finished a piece (in November) and have support in place to immediately begin the process once again (in December) to share and expand my love for choreographing! My 1st rehearsal was actually on Monday December 14th. I came away feeling excited and hopeful as the space just felt so nurturing and productive!
http://www.chineseculture.net/guqin/newsletters/09nagaevents/bjtosfreportweb.htm The world premiere of “From Beijing to San Francisco” – a newly commissioned multi-disciplinary work for the guqin developed by Wang Fei, the Founder and Director of NAGA – was performed to great critical acclaim in the Performing Diaspora Festival at CounterPULSE in San Francisco on four consecutive nights from November 19 to 22, 2009. It was well received and played to a full house almost every day. Wang Fei combines her unique talents as a guqin player and
November. Thanksgiving. Well, Performing Diaspora was a thanksgiving feast of a sort, for sure. Dishes of quiet contemplative explosions and moments of mirth filled the platter, like when Sri did her nonplussed "boob dance" and her sexy "butt dance." With her back to the audience, she cocked her head as if to say, "I see you, watching me, watching you." There was Devendra's utterly charming and engrossing nautanki play, Yannis' virtuosic and athletic dance -- one moment in particular took
December 2nd was the fist rehearsal at CounterPulse with Violeta Luna and I. I was a little worried to start since I did not know how Violeta ‘s creative process was in the studio. Before this day we met regularly once a week for the past three months. We created the narrative, brainstormed our ideas, coordinate and organize our meeting with our collaborators and so on. During those meeting we identify 4 characters for each one in regards of our
We are super excited to have had the opportunity to meet the truly kind and professional folks from the San Francisco Arts Commission's Culture Wire. Watch the video below to hear from Jessica Robinson Love and 3 Performing Diaspora artists Gema Sandoval, Charlotte Moraga and Adia Tamar Whitaker talk about what Performing Diaspora meant to them.
Calling all designers! We're looking for a design for the official CounterPULSE shirt for this coming year. Since we know we've got some extremely talented supporters out there, we thought we would open it up to all of you! Have you had a design idea since seeing a show here? This is your chance to run with it: the only things that MUST be on there are the name (CounterPULSE), our logo (which can be downloaded here), and the year
scribed by Roko Kawai On October 15, 2009 a group of Bay Area artists, arts administrators and audience members met at CounterPULSE for the Dance Discourse Project 7: Dancing Diaspora. Co-presented by World Arts West/ San Francisco Ethnic Dance Festival and Dancers' Group the event was a part of the Fall 2009 season of Performing Diaspora. Learn more about Performing Diaspora at www.counterpulse.org/performing-diaspora/ At the exciting event, participants were broken up into small groups where they discussed a variety of
Sitting in front of my computer on this rather chilly autumn afternoon I cannot believe that we PD artists have seemingly come to the end of this portion of our "journey". Over the course of practically one year we have created, critiqued, blogged, organized, rehearsed, coordinated, risked, stumbled, fumbled, doubted, questioned and actively participated in the development of intimate artistic visions as well as have acted as key players in the birth of this unique and ambitious Counterpulse Festival. I
The 1923 exchange of population was a forcefull way for the Greek refugees to preserve their memory of their experiences and art forms because deep inside they knew that they were never going to return back to their beloved Asia Minor. My grand parents Leonidas and Despina spoke mostly in Turkish at home and they always were nostalgic about their Greek community in their town of Koula in the middle of Turkey. Amongst the golden coin liras that they managed
The actual performance of Rembetika was a very powerful experience because it felt dangerous in way that reminds me when we had to do experiments in chemistry class and didn't know the outcome. The performers were all very brave precise and fluid and seemed to understand the heavy soul of a Greek spirit that is resurected when three art forms meet in the black box theater on 9th and Mission. The Singing of Katerina connected my heart with my ancestors's
Now that I am on the other side of Performing Diaspora where I presented the piece “The Politics of Poverty” – Sankofa Wisdom, I would just like to say whew. I really enjoyed all the different cultural groups and learning more about their artistry. Looking into the subject of Poverty was painful on my heart. The statistics that I found relating the people of the African Diaspora and poverty were shocking and depressing. The subject is quite mammoth and I
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Feb. 1st, 2025 @ 10:00PMEvent Detail Button
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